According to Freud's view, "dreams are in a hallucinatory way to satisfy people's wishes", dreams and hallucinatory activities are the reaction mechanism and cathartic mechanism hidden in the deep psychological structure of people, and have the important function of regulating people's physiological and psychological emotions and balancing people's mental activities.
However, the way of telling the story with intuitive pictures in the film seems to be insufficient in describing people's deep spiritual fields and inner activities, but the performance of dream passages in the movie makes up for this deficiency, and through the presentation of dream paragraphs, the deep psychological activities of people are dynamically expressed through vivid pictures, making it a unique film narrative means.
When the dream plot dominates the structure of the film as a way of structuring this article, it becomes a characteristic narrative structure mode.
Dreamy polyphonic structure refers to the reflection presentation of dreams and consciousness hallucination passages as the main narrative content, forming dialogue and conflict with more than one narrative voice, portraying the character's consciousness, especially the ambivalent psychological state in the heart, and forming a reflective presentation of the character's own independent consciousness.
Its basic characteristics are: "with the polyphony of time clues, it constitutes a counterpoint or confrontation relationship in the narrative; The "plot" line with the flow of psychological reality as the driving force of the narrative emphasizes the intrinsic connection between mental activities and real events, as well as the echo and dialogue relationship between the two; And often ends with metaphorical dream passages. ”
In the history of cinema, typical films that constitute a dreamy polyphonic structure are Ingmar Bergman's "Wild Strawberry", Fellini's "Eight and a Half", and Kurosawa's "Dream". This type of film focuses on the exploration and exposure of the deep psychology of the characters, aiming to reveal and reflect on a certain human spirit, life value, thought trajectory and even psychological structure through the presentation and observation of dreams and hallucinations, that is, the deep unconscious of human beings.
Several of Imamato's anime works have a large proportion of dreams or consciousness illusions, such as "The House of Unhemp", "Millennium Girl", "Red Hot Chili Peppers", and "Delusional Agent" are almost all about dreams or consciousness illusions.
For example, the main time and space in the story of "Red Hot Chili Peppers" is the dream time and space, in the dream, Red Hot Chili Peppers analyze the dream for the police Fanchuan and treat his long-standing mental illness, and due to the theft of DCmini, Red Hot Chili Peppers and others are involved in dreams to investigate, and the villains represented by the chairman have a fierce struggle, interspersed with the side story Police Fanchuan's dream analysis is a classic interpretation of Freud's dream interpretation theory, and several dreams build a huge psychological space structure of the film.
At the same time, the film takes the linear time clues of the terrorists who investigated the theft of DCmini as a polyphony, and constructs the contrast, echo and dialogue relationship between dream time and space and real time and space, thereby depicting the story of human struggle in the field of dreams, and fully reflects the director's use of psychoanalysis.
The "dream polyphonic structure" mainly reflects the following two characteristics in the plot structure, first, through the "through" dream passages to construct the structural framework of the mental narrative. "Through" dreams dominate the structure of this article. For example, in "The House of Unhemp", Yuma undergoes various internal and external pressures, causing her to have a series of consciousness hallucinations and suffer the pain of a split personality.
This kind of "through" dream mainly targets the daily life trajectory of the characters in real life and the mining of the conscious activities of the spiritual world, so as to shape and depict the dreams or consciousness illusions of the characters. In this way, the spiritual world of the character and even the character himself can be examined, tortured and reflected. Therefore, the dreamy polyphonic structure must structure this article with multiple dreams or a series of interconnected dreams or illusions, and complete the revelation and analysis of the inner world of the characters through the process of interaction, mutual reflection and collision between a series of intrinsically related dream plots and real life levels.
Secondly, the dreamy polyphonic structure constructs a multi-voice, multi-level and multi-clue space-time relationship through the interweaving, contrast and contrast of psychological reality and reality, and between dream space-time and linear plot space-time, so that the narrative structure of the film is intricate, so that it has broad narrative coverage and presents an open narrative pattern.
This is because dreams in a dreamy polyphonic structure consist of several dreams that are neither affiliated but also intrinsically related. Relatively speaking, their setup requires more organic and stricter counterpoint. At the same time, this counterpoint relationship is complicated and varied due to the infinity of fantasy in "space" and the stagnation in "time".
For example, in "Millennium Girl", the real time and space is the linear development of Tachibana Genya and the photographer's interview with Chiyoko, and the intersectional time and space composed of the complexity of the film time and space that increases the personal emotional color in the memory: the former is in progress, the latter is in the past tense, but the former flows linearly, and the latter jumps in time, shuttling freely in the river of time.
The former is relatively narrow in space, and the plot mostly takes place in the living room of the elderly Chiyoko's home, while the latter spans a large range and is very wide: from wartime stations to exotic battlefields; From the snowy fields of the northern country to the empty universe; From forest paths with cherry blossoms to cities in ruins after the Great Earthquake.
For example, on the psychological level, the fear of aging faces contrasts with the mentality of calmly facing the past at the end of memory; As in reality, Chiyoko resolutely became an actress in search of the key king, chasing the firm belief in the love of her heart and facing reality before her death, and the change in her personality and mentality.
For example, on the symbolic level, the counterpoint of the objects and characters in the memories and the objects and characters in reality echoes: the key between Chiyoko's neck in memories and the key brought by the neutral flower source of reality, the characters who pursue love in various movies played by Chiyoko in memories and Chiyoko who became an actor for the sake of a painter in reality, the "guardian" who appears next to Chiyoko's characters in the plot of the movie and Genya Taichibana, Chiyoko's loyal fan in reality, etc., all contain a polyphonic counterpoint relationship, This makes the narrative of the entire film rich and meaningful.
And we see that the structural counterpoint setting is multi-directional, such as a reverse reversal to strengthen the tension of the narrative message. For example, the success in reality leads Chiyoko to doubt the beliefs she holds - the white-haired demon woman keeps appearing, cursing her for a long and lonely life. This portrayal of rebellious psychology effectively reveals the complex mechanism and operation mode of the character's deep psychology and human strength.
Another example is in "The House of the Ministry of Unhemp", the illusion of consciousness that constantly appears in Weima and the plot of "drama within a play" reflect and interweave each other, promote each other's narrative process, form a special polyphonic narrative relationship with the real time process, and finally build a structure with an open pattern and diversified orientation. Through the polyphonic dialogue and collision of reality and dream, the deep psychology of the characters is revealed and revealed, and the consciousness and inner feelings of the protagonist's self-reflection are displayed and explored.